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1PresskitSpotlightexhibitionFebruary5-April27,2015Denonwing,1stfloor,room32AmericanEncountersThesimplepleasuresofstilllifePresscontactMarionBenaiteaumarion.
benaiteau@louvre.
fr+33(0)140206710/+33(0)6884252622PracticalInformationOpeninghoursEverydayfrom9a.
m.
to5:30p.
m.
,exceptTuesday.
Nightopeninguntil9:30p.
m.
onWednesdaysandFridays.
AdmissionAdmissionwiththepurchaseofatickettothepermanentcollection:12Freeforvisitorsundertheageof18,18-25year-oldresidentsoftheEuropeanUnion,disabledvisitorsandtheirguestorhelper,holdersoftheAmiduLouvrecards.
Furtherinformation+33(0)140205317–www.
louvre.
fr/enPressreleaseSpotlightexhibitionFebruary5–April27,2015Denonwing,1stfloor,room32AmericanEncountersTheSimplePleasuresofStillLifeFinalinstallmentofthe"AmericanEncounters"exhibitionseriesco-organizedbythemuséeduLouvre,theHighMuseumofArt,theCrystalBridgesMuseumofAmericanArtandtheTerraFoundationforAmericanArt,theexhibition"TheSimplePleasuresofStillLife"explorestheriseofstill-lifepaintingin19th-centuryAmerica.
Inthewakeoftheexhibitionsonlandscape,genrepainting,andportraiture,thisexhibitionprovidesanewopportunitytofosterdialogueonAmericanpainting.
Featuring10artworksfromthecollectionsofthefourpartnerinstitutions,thisfinalexhibitionfollowsonfromthepreviousonestoillustratehowAmericanpainterslikeRaphaellePeale,MartinJohnsonHeadeandWilliamMichaelHarnettadaptedEuropeanmodelstotheirtimeandcountry,andthuscontributedtothecreationofaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalvoice.
Despiteacenturies-oldtraditioninEurope,stilllifewasslowtogainfavorintheUnitedStates.
Thegenrebecamepopularwiththemajorpolitical,economic,andsocialchangesthattookplaceoverthecourseofthe19thcentury.
Anewtypeofpatronbegantoemerge,eagertorepresenttheirwealththroughcertainsymbolicobjects.
RaphaellePeale,consideredthefirstAmericanpainterofstilllife,wonrenownforhisaustereandefficientstylewithafocusonproductscultivatedonAmericansoil.
Foralongtime,AmericanstilllifedrewinspirationfromEuropeancodesofstyle.
Aspeople'srelationshiptoluxuryevolved,thecompositionswereenrichedandthesubjectsdiversified.
AftertheCivilWar,Americanstill-lifepaintingrenewedwithmoreredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalsubjectsandsymbolismwasusedtoassertcertainspecificmoralvaluesortocriticizethematerialismprevalentinAmericansocietyatthetime,asinSmallChangebyJohnHaberle.
AttheLouvrefromFebruary5,2015,thespotlightexhibition"AmericanEncounters:TheSimplePleasuresofStillLife"willthentraveltotheCrystalBridgesMuseumofAmericanArtinBentonville,Arkansas(May16–September14,2015)followedbytheHighMuseumofArtinAtlanta,Georgia(September26,2015–January31,2016).
Curators:GuillaumeFaroult,Curator,DepartmentofPaintings,muséeduLouvre,andStephanieMayerHeydt,MargaretandTerryStentCuratorofAmericanArt,HighMuseumofArt,Atlanta.
Thisspotlightexhibitionispartofalong-termpartnershipbetweenthemuséeduLouvre,theCrystalBridgesMuseumofAmericanArt,theHighMuseumofArt,Atlanta,andtheTerraFoundationforAmericanArt,andwasmadepossiblethroughtheirgeneroussupport.
ExternalRelationsDepartmentPresscontactAnne-LaureBéatrix,DirectorMarionBenaiteauAdelZiane,HeadoftheCommunicationSubdepartmentmarion.
benaiteau@louvre.
frSophieGrange,HeadofthePressDivision+33(0)140206710/+33(0)688425262JohnHaberle,SmallChange,1887CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt3TheriseofAmericanstilllifeEuropeanacademichierarchiesplacedlittlevalueonstilllife,agenrethatbeganasaratherconfidentialpracticeintheUnitedStates.
TheNewWorldpaintershadapreferenceforportraitorlandscapepaintings,whichgarneredgreaterinterestfrompatrons,asshowninthepreviousexhibitions.
Attheturnofthe19thcentury,Americaneconomicdevelopmentgaverisetoanewcategoryofbuyerswhowerepartialtorepresentationsofobjectsthatreflectedtheirdailylifeandsuccess.
Incirca1813,RaphaellePealepaintedCornandCantaloupe,appropriatingthetraditionalEuropeanformatofstilllifeandadaptingittohisaudiencetosharehisvisionofAmericanbounty.
Cantaloupe,sweetpotato,andcornareusedtoevokethegreatplantations,particularlytheonebelongingtothepainting'sfirstowner,Dr.
BenjaminLee,inMaryland.
Mid-centurynaturalismFromitstentativebeginnings,stilllifewentontoflourishtowardsthemiddleofthecentury.
Thesubjectmatterwasmoreluxurious:fruitsandvegetableswerejoinedbyflowersandgamemeats,reflectingthechangesintastesarisingfromgreaterwealthandindustrialproduction.
WiththeemergenceofwealthycollectorsinterestedintheDutchGoldenAgestilllifes,artistslikeMartinJohnsonHeade(1819–1904)madeaspecialtyofparticularlyelaboratepaintingswithsubtlesymbolism.
StillLifewithAppleBlossomsinaNautilusShell,paintedin1870,isacleverpasticheofNordicpaintingorAbrahamMignon'svasesofflowers,oneexampleofwhichispresentedintheexhibition.
ThevirtuosoexecutionofdraperyandthedelicaterenderingoftheflowersportrayacontextofseductionthatundoubtedlymarkedthebeginningofanewrelationshiptoluxuryandsociabilityinAmericansociety.
Trompe-l'ilandsymbolTheCivilWarledtoanabruptchange.
StilllifepainterslikeWilliamHarnett(1848–1892)renewedtheirfocusoncharacteristicallyAmericanobjects,specializingintrompe-l'ilwithawillinglysymbolicandsometimessubversiveresonance.
AdistinctivefeatureofAmericanstilllifeinthesecondhalfofthe19thcentury,theuseoftrompe-l'ilechoedtheemergenceofpopulartasteforwhatwerereferredtoas"bric-a-brac"paintings,eclecticcollections,andexoticobjects.
Partofthelongtraditionofvisualillusionism,trompe-l'ilwasalsousedtochallengethematerialistvaluesofsocietyandpoliticalcorruption.
Insuchaway,SmallChangebyJohnHaberlehighlightstherelationshipwithmoneyinAmericaattheheightofitseconomicdevelopment:demystified,acoinisusedtoholdalittleself-portraitthatseemsplacedtherelikeachallengetotheauthorities.
Thevieweristhusmadepartytotheillusion,butalsoguidedbytheartisttodecipherthecode.
IntheAuditoriumoftheLouvrePresentationoftheexhibitionWednesday,February4,2015at12:30p.
m.
byStephanieMayerHeydt,Curator,HighMuseumofArt,Atlanta.
MartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,1870,TerraFoundationforAmer-icanArtTerraFoundationforAmericanArt.
RaphaellePeale,CornandCantaloupe,ca.
1813CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArtWilliamMichaelHarnett,StillLifewithBustofDante,1883,HighMuseumofArt,64.
27HighMuseumofArtExhibitioncatalogueAmericanEncounters:TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
68p.
AlsoavailableinFrench.
4In2003,theTerraFoundationsupportedamajorconferenceonAmericanartattheLouvre,entitled"TheIndependenceofAmericanArt.
"TheLouvreandtheTerraFoundationcollaboratedagainin2006ontwoimportantprojects:thefirstAmericanartexhibitionattheLouvre,inwhichSamuelF.
B.
Morse'smonumentalGalleryoftheLouvre,1831-33,fromtheFoundation'scollection,hungintheLouvre'sSalonCarré,thesameroomfeaturedinthepainting;andtheLafayettedatabase,createdwiththeHenryLuceFoundation,whichisacomprehensiveinventoryofworksofAmericanartinFrenchcollections(http://musee.
louvre.
fr/bases/lafayette/lng=1).
From2006to2009,theLouvreandtheHighparticipatedinacollection-sharinginitiativecalled"LouvreAtlanta"thatincludedaseriesofthematicexhibitionsandthedevelopmentofjointpublicationsandothercollaborativescholarship.
TheTerraFoundationalsolentitsGalleryoftheLouvreaspartoftheLouvre-Highcollaboration;thepaintingwasonviewattheHighMuseumaspartoftheKingsasCollectorsexhibitionin2006.
Since2012,thefourinstitutionshavebeenpresentingeachyearanexhibitionwithinthecontextoftheAmericanEncounterspartnership.
Theprojectaimstoimprovethevisitor'sknowledgeofAmericanartoftheUnitedStatesfromtheendofthe18thcenturytothesecondhalfof19thcentury.
ThepartnersCrystalBridgesMuseumofAmericanArtCrystalBridgesMuseumofAmericanArtexplorestheunfoldingstoryofAmericathroughthecollectionofworksthatilluminateAmericanheritageandartisticpossibilities.
Foundedin2005byAliceWaltonandtheWaltonFamilyFoundation,theMuseumopenedonNovember11,2011.
TheMuseumtakesitsnamefromanearbynaturalspringandthebridgeconstructionincorporatedinthebuildingdesignbyarchitectMosheSafdie.
Aseriesofpavilionsnestledaroundtwospring-fedpondshousecollectionandexhibitiongalleries,meetingandclassroomspaces,andalarge,glass-enclosedgatheringhall.
TheMuseum'sgoalofintersectingartandnatureisrealizednotonlyinthephysicalbuildings,butthroughsculptureandwalkingtrails,whichlinktheMuseum's120-acreparkandgardenstodowntownBentonville,Ark.
TheMuseum'spermanentcollectionspansfivecenturiesofAmericanpaintings,sculpture,andworksonpaperrangingfromtheColonialeratothecurrentday.
www.
crystalbridges.
org.
HighMuseumofArtTheHighistheleadingartmuseumintheSoutheasternU.
S.
Withmorethan14,000worksofartinitspermanentcollection,theHighMuseumofArthasanextensiveanthologyof19th-and20th-centuryAmericananddecorativeart;significantholdingsofEuropeanpaintings;agrowingcollectionofAfricanAmericanart;andburgeoningcollectionsofmodernandcontemporaryart,photography,folkartandAfricanart.
TheHighisalsodedicatedtosupportingandcollectingworksbySouthernartists.
www.
high.
orgTerraFoundationforAmericanArtEstablishedin1978,theTerraFoundationforAmericanArtisdedicatedtofosteringtheexploration,understanding,andenjoymentofthevisualartsoftheUnitedStates.
WithanexceptionalcollectionofAmericanartfromthecolonialerato1945,anexpansivegrantprogram,andspecializedstaffatitsChicagoandParisoffices,itisoneoftheleadingfoundationsfocusedonAmericanart,anddevotesapproximately$12millionannuallyinsupportofAmericanartexhibitions,projects,andresearchworldwide.
www.
terraamericanart.
orgHistoryofcollaborationsamongthepartners5Director'sforewordLikethethreeprecedingexhibitionsintheAmericanEncountersseries,TheSimplePleasuresofStillLifeinvestigatestheblossomingofaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalvoiceinAmericanart.
Overthecourseofthismultiyearpartnership,ourcombinedeffortshaveyieldedfourexhibitionsinvestigatingthedevelopmentofkeygenresintheartoftheUnitedStates:landscape,genre,portraiture,andstilllife.
TheseriesistheproductofthoughtfulcollaborationbetweenAmericanandFrenchcurators,whobroughttogethermajorworksfromeachofourfourdiverseinstitutionalcollections,inAtlanta,Bentonville,Chicago,andParis.
Notsurprisingly,thishasyieldednewopportunitiesforencounterswithhistoricalAmericanart.
Thisfinalexhibitionintheseriesfocusesononeofthemostoverlooked,yetaccessibleofgenres.
Stilllifecelebratesthecommonplace.
Butinthesesimpleobjectsweinvestmeaning—meaningthatcanbeculturallyspecificbutalsouniversal.
FromtheseventeenthcenturyonwardinEurope,asharedvisuallanguagedevelopedaroundthepracticeofstilllife.
Inearlynineteenth-centuryAmerica,artistsadaptedtheestablishedstill-lifeformatstosuitnewcircumstances.
ExamplesinthisexhibitionextendfromtheausterearrangementsofAmerica'searliestpractitionersofthestill-lifegenretothepopulartrompel'oeilconceitsoftheGildedAge.
TheseworksarebolsteredbytwoexcellentexamplesoftheprecedentsAmericansfoundintheDutchandFrenchtraditions.
StephanieMayerHeydt'sessayinthiscataloguedescribestheconvergenceofAmericanwithhercollaboratingcuratorsEuropeanstilllifeaswellasitspointsofdeparture.
Heydt,alongwithPeterJohnBrownlee,GuillaumeFaroult,ManuelaWell-Off-Man,andothercolleaguesconsidersastunningarrayofpaintingswithintheirhistoricalandculturalcontexts.
AlthoughourAmericanEncountersseriesconcludeshere,thecross-culturalexchangeithasinspiredsuggeststhattheseencountersareonlyabeginning.
RodBigelow,executivedirectorCrystalBridgesMuseumofAmericanArt,BentonvilleElizabethGlassmann,presidentandchiefexecutiveofficerTerraFoundationforAmericanArt,ChicagoandParisJean-LucMartinez,president-directorMuséeduLouvre,ParisMichaelE.
Shapiro,NancyandHolcombeT.
Green,Jr.
,directorHighMuseumofArt,AtlantaTextfromAmericanEncounters,TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
6Theexhibition'sartworksMartinJohnsonHeade(American,1819–1904)StillLifewithAppleBlossomsinaNautilusShell1870Oiloncanvas,H.
53,3;l.
43,2cm.
TerraFoundationforAmericanArtWilliamMichaelHarnett(American,1848–1892)StillLifewithBustofDante1883Oilonpanel,H.
26;l.
35,1cmHighMuseumofArt,AtlantaDeScottEvans(American1847–1898)DaisiesCa.
1885Oiloncanvas,H.
50,2x45,4x4,4cmCrystalBridgesMuseumofAmericanArt,BentonvilleJohnHaberle(American,1845–1933)SmallChange1887Oiloncanvas,H.
23,5;l.
18,4cmCrystalBridgesMuseumofAmericanArt,BentonvilleGeorgeCope(American,1854–1925)APairofSpectacles1897Oilonacamedyboard,H.
50,2;l.
45,1cmHighMuseumofArt,AtlantaAbrahamMignon(Francfort,1640–Utrecht,1679)Flowersinacrystalvasestandingonastonepedestal,withadragonfly[Fleursdansunecarafedecristalplacéesurunpiédestalenpierre,avecunelibellule]n.
d.
Oiloncanvas,H.
88;l.
68cm.
Signedonleftsidedown:A.
MignonFeMuséeduLouvre,ParisJean-SiméonChardin(Paris,1699–Paris,1779)Pipesanddrinkingpitcher,alsoknownasThetobaccobox[Pipesetvaseàboire,ditaussiLaTabagie]Ca.
1737Oiloncanvas,H.
32;l.
42cmMuséeduLouvre,ParisRaphaellePeale(American,1774–1825)CornandCantaloupeCa.
1813Oilonapanel,H.
36,8;l.
49,5cm.
CrystalBridgesMuseumofAmericanArt,BentonvilleJosephBiaysOrd(American,1805–1865)StillLifewithShellsCa.
1840Oiloncanvas,H.
46;l.
61cmHighMuseumofArt,AtlantaWilliamSidneyMount(American,1807–1868)FruitPiece:ApplesonTinCups1864Oilonacademyboard,H.
16,5;l.
23cmTerraFoundationforAmericanArt7FocusonafewworksRaphaellePeale(1774–1825)CornandCantaloupeCa.
1813,oilonapannelRaphaellePealewastheeldestsurvivingsonofAmericanpainterCharlesWillsonPealeandthefirstofthePealefamilydynastytobenamedafteragreatartist.
Hebeganhiscareerinthepracticalfieldofportraitpainting,but[…]heturnedtostilllifeashisprimarypursuit.
AlongwithhisuncleJamesPeale,Raphaellewouldchallengetheinferiorstatusofstill-lifepaintinginthetraditionalartistichierarchy,elevatingthegenre'sstatusinAmericaandestablishingthecityofPhiladelphiaasacenterforitspractice.
InformedbyPeale'sskillinprecisebotanicalrepresentationandbyhishorticulturalknowledge,CornandCantaloupecelebratesasummer'sharvest.
Atthecenterofthecomposition,thediagonallyplacedearofcorndirectsthegazethroughtheimageandunitesitsvariouselements.
[…]Wheretheymeet,thevisual"digestion"ofthecompositioncontinuesonthesucculentsurfaceofafreshlyslicedmelon—specificallythevarietyknownasAnneArundel,grownregionallyinAnnapolis,Maryland,theartist'sbirthplace.
Pealecloselydetailstheedibleflesh,invitingtheviewertopartake.
Contrastingwiththesensuousfruitinsize,texture,andcolor,asweetpotatoandacucumbercompletealineupofcultivatededibles.
[…]Yetinthispaintingthedeliberateinclusionofbothsweetpotatoandcornmayrevealthework'sprovenance.
Itsoriginalowner,Dr.
BenjaminLee,wasapracticingphysicianandtheproprietorofOakHillplantationinPrinceGeorge'sCounty,Maryland.
PealemayhaveofferedCornandCantaloupetoDr.
LeeascompensationformedicaltreatmentduringavisittoMaryland,fortheimagepointedlyincludesexamplesofthetwostaplecrops,cornandsweetpotatoes,raisedonthedoctor'splantation.
[…]ConsideredtheredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nation'sfirstprofessionalstill-lifepainter,PealeinitiatedanAmericantraditionforthegenrelatercontinuedbysuchmastersasWilliamMichaelHarnettandJohnFrederickPeto.
AaronW.
Jones,Interpretationmanager,CrystalBridgesMuseumofAmericanArt,BentonvilleWilliamSidneyMount(1807–1868)FruitPiece:ApplesonTinCups1864,oilonacademyboardWilliamSidneyMount'smodestlyscaledFruitPiece:ApplesonTinCupspresentsadeceptivelysimplearrangementoftwotypicalapplessetatoprichlypatinatedtincup"pedestals.
"[…]Bythemid-nineteenthcentury,itwasthemostwidelycultivatedfruitintheUnitedStatesandastapleoftheAmericandiet.
Oftheapple'smanifoldassociations,themostpotentforMountandhisaudienceduringtheCivilWarwouldhavebeenitscapacitytoinvokepatrioticsentimentinamomentofsectionalconflict.
Theapplewasbothasymbolandasourceofsustenance,asexemplifiedbythecustomamongNorthernchildrenofRaphaellePeale,CornandCantaloupe,ca.
1813,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt,PhotographybyDwightPrimianoWilliamSidneyMount,FruitPiece:ApplesonTinCups,1864,oilonacademyboard,TerraFoundationforAmericanArt,DanielJ.
TerraCollection,1999.
100TerraFoundationforAmericanArt8givingapplestoUnionsoldiers[…].
MountdemonstratedhissupportfortheUnioncausebydonatingFruitPiece:ApplesonTinCups,alongwitha"sketchinoilofcherryblossoms,"forexhibitionandsaleattheMetropolitanFairinNewYorktobenefittheUnitedStatesSanitaryCommission,acivilianrelieforganizationestablishedin1861toaidUnionsoldiers.
Mountwasanestablishedpainterofgenresceneswhen,in1862,hewroteinhisjournalthatstill-lifepaintingwas"averyingeniouswaytotellastory.
"Still-lifeimagesconveymeaningthroughsymbolismandthesuggestivejuxtapositionofpicturedobjects[…].
DuringtheCivilWar,thestorytellingcapacityofthestilllifeprovidedMountwithavehicletocommunicateamorepersonaltakeontheconflictwithoutalienatingapublicthathadgrownwearyofpartisanimageryandgruesomebattlefieldaccounts.
InFruitPiece:ApplesonTinCups,thesmooth,glowingredskinoftheforemostapplebearstheindentionofafingernail,asubtlereferencetoaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationscarredbythetragedyofwar.
ThetarnishedsurfacesofthecupsthatsupporttheapplesreferencetheirutilitarianfunctionasstandardUnionarmyissuefromwhichsoldierswouldeatanddrink.
Theevidentwearandtearinflictedonthesevesselsstandsinfortheeffectsofwarontheindividualsoldierswhoutilizedthecupsbutwhomayhavenotreturnedhome.
Fullofsymbolicmeaningsrangingfromsustenancetoabsence,FruitPiece:ApplesonTinCupsquietlyunderscoresMount'sbeliefintheabilityofstill-lifepaintingtoevokemeaninginapoignantyetpalatablemannerforaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationconsumedbycivilwar.
EleanoreNeumann,Formercollectionassociate,TerraFoundationforAmericanArt,ChicagoMartinJohnsonHeade(1819–1904)StillLifewithAppleBlossomsinaNautilusShell1870,oiloncanvasAperipateticpainterofportrait,landscape,andmarinesubjects,MartinJohnsonHeadefirstturnedhisattentiontofloralstill-lifepaintingintheearly1860s.
Hisinitialessaysinthegenrewererelativelysimpleaffairs,featuringsmallclustersofflowersrestingontabletopsorarrangedinvasesandothervessels.
Heade'sinterestinflowersintensifiedasaresultoftwotripstoSouthAmerica[…].
There,hehonedhisskillas"anaccurateandgracefulillustratorofnaturalhistory,"paintingthedelicatepicturesofhummingbirds,orchids,andpassionflowersthatcomprisehisfamedseriesGemsofBrazil(1864,CrystalBridgesMuseumofAmericanArt).
BythetimeHeadepaintedStillLifewithAppleBlossomsinaNautilusShellin1870,histabletopcompositionshadevolvedincomplexityandsophisticationtoincludeanarrayofflowertypesandagrowingconstellationofobjects,naturalandotherwise.
[…]Althoughperhapsbestknownforhisimagesoftropicalflora,Headefavoredrosesbutwasalsopartialtoappleblossoms,paintingsometwenty-fiveinterpretationsofthesubjectoveratwenty-yearperiod.
Renderedwiththespecificityofbotanicalillustration,Heade'sappleblossomsinvokethelanguageofflowerswiththeirallusionstothe"promiseofanabundanceofdeliciousfruit"andthetemptationofEve.
[…]StillLifewithAppleBlossomsinaNautilusShellbringstogetherthebeautyofnatureandthematerialgrandeurofworldlygoods.
Althoughtheflowersaresymbolicallysuggestiveandcentrallyplacedagainstabackdropformedbythelattice-likewallcovering,theyarebutonesignifieramongmany.
Alsoscatteredaboutthetableareanautilusshellvessel—areferencetoVenus,thedaughterofNeptune,ajewelryboxpartiallycoveredbyaheavyvelvetcurtain,astringofpearlsculminatinginacrossspillingfromanornatefooteddish,aslightlyopenedfanwithpendanttasselperchedprecariouslynearthetable'sroundededge,andascallopedglovetossedcasuallytotheside.
Inanageofincreasinglymechanizedproductionandconspicuousconsumption,theseluxuryobjectseffectivelyconveyagreatershareofthepainting'scodedmeaningsandestablishitsillusionisticspaceasdistinctlyfeminine.
PeterJohnBrownlee,Curator,TerraFoundationforAmericanArt,ChicagoMartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,1870,DanielJ.
Terra,ArtAcquisitionEndowmentFund,1999.
7TerraFoundationforAmericanArt.
9JohnHaberle(1845–1933)SmallChange[Petitemonnaie]1887,oiloncanvasJohnHaberlewasamasteroftrompel'oeilimagesofUnitedStatescurrency.
HepaintedmoneysoconvincinglythattheUnitedStatesSecretServicecompelledhimtostop,andanewspaperreporterfalselyaccusedhimofintentionalfraud.
Thisattentioninspiredhimtospecializeinmoneypaintings,beginningaround1887.
[…]InSmallChange,Haberlepaintedcurrencyagainstadarkwoodenboard.
Heincludedaone-centcoppercoinbearingasymbolofjustice,asilverthree-centcoin,aten-centpaperbillwithaportraitofSecretaryoftheTreasuryWilliamM.
Meredith,and,mendedwithapostagestamp,atatteredtwenty-five-centpaperbillbearingaportraitofGeorgeWashington.
[…]Haberle'stitleSmallChangeisapunontheword"change"(thatis,exchange),meaningcoins.
ComparedtothecontroversialsurplusofU.
S.
governmentmoneythenstoredinvaults,thesmallamountofmoneydepictedherewasindeed"smallchange.
"ThetermalsoreferstochangesthatoccurredoverthecourseofAmericanhistory.
Here,Haberledepictscurrencyissuedduringnearlyacentury—from1785andthefoundingoftherepublictotheredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nation'scentennialin1876.
[…]Timeandusehavechangedtheappearanceandconditionofthemoney:Haberle'sfrayedandcrinkledpapernotescontinuethetraditionofthevanitasstilllifeofDutchandFlemishBaroquemasters,remindingviewersofthevanityofmaterialthingsandthebrevityoflife.
Haberlecarefullymodeledhiscurrencyinpainttoconvincinglyreplicatethethree-dimensionaltornandcurlededgesofthenotes.
Atrainedengraver,hecarvedthefinelinesofthebills'designsintotheblackpaint,preciselymimickingthedelicateengravedsurfacesoftheplatesfromwhichthebillshadbeenprinted.
Haberleoftenincludedhumorouspersonalreferencesinhiscompositions,ashereinthe"carved"signaturewithstickfigure—acaricatureofhimself.
Healso"signed"thisworkthroughhistintypeportrait.
Bothpersonalized"signatures"expresstheartist'sprideinhisworkandaddtoitsComplexity.
ManuelaWell-Off-Man,Curator,CrystalBridgesMuseumofAmericanArt,BentonvilleJohnHaberle,SmallChange,1887CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyAmonCarterMuseumofAmericanArtTextsfromAmericanEncounters,TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
10ExhibitionvisualsAmericanEncounters:TheSimplePleasuresofStillLifeFromFebruary,5thtoApril,27th2015-Denonwing,1stfloor,room32Visualsarefreeofrightsduringandaftertheexhibition.
Theymayonlybeusedfortheexhibition'spromotion.
Pleasementionthepicture'srightsandsendusthearticleoncepublished:MuséeduLouvre,Directiondesrelationsextérieures,Sous-directionCommunication,75058Pariscedex01ormarion.
benaiteau@louvre.
fr.
2.
RaphaellePeale,CornandCantaloupe,ca.
1813,oilonpanel,Bentonville,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyDwightPrimiano1.
JohnHaberle,SmallChange,1887,oiloncanvas,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyAmonCarterMuseumofAmericanArt3.
WilliamSidneyMount,FruitPiece:ApplesonTinCups,1864,oilonacamedyboard,TerraFoundationforAmericanArt,DanielJ.
TerraCollection,1999.
100TerraFoundationforAmericanArt.
114.
JosephBiaysOrd,StillLifewithShells,ca.
1840,oiloncanvas,HighMuseumofArt,2013.
8HighMuseumofArt6.
WilliamMichaelHarnett,StillLifewithBustofDante,1883,oilonwoodpannel,HighMuseumofArt,64.
27HighMuseumofArt.
5.
MartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,oiloncanvas,TerraFoundationforAmericanArt,DanielJ.
Terra,ArtAcquisitionEndowmentFund,1999.
7TerraFoundationforAmericanArt.
129.
AbrahamMignon,FlowersinaCrystalVaseonaStonePedestal,withaDragonfly[Fleursdansunecarafedecristalplacéesurunpiédestalenpierre,avecunelibellule],oiloncanvas,n.
d.
,Paris,muséeduLouvreRMN-GrandPalais(MuséeduLouvre)/FranckRaux8.
GeorgeCope,APairofSpectacles,1897,oilonacademyboard,HighMuseumofArt,2005.
216HighMuseumofArt.
PhotoMikeJensen7.
DeScottEvans,Daisies,ca.
1885,oiloncanvas,Bentonville,CrystalBridgesMuseumofAmericanArtCrystalBridgesMuseumofAmericanArt.
PhotoDwightPrimiano10.
Jean-SiméonChardin,PipesandDrinkingPitcher,alsoknownasTheTobaccoBox[Pipesetvaseàboire,ditaussiLaTabagie],ca.
1737,oiloncanvas,Paris,muséeduLouvreMuséeduLouvre,dist.
RMN/AngèleDequier
benaiteau@louvre.
fr+33(0)140206710/+33(0)6884252622PracticalInformationOpeninghoursEverydayfrom9a.
m.
to5:30p.
m.
,exceptTuesday.
Nightopeninguntil9:30p.
m.
onWednesdaysandFridays.
AdmissionAdmissionwiththepurchaseofatickettothepermanentcollection:12Freeforvisitorsundertheageof18,18-25year-oldresidentsoftheEuropeanUnion,disabledvisitorsandtheirguestorhelper,holdersoftheAmiduLouvrecards.
Furtherinformation+33(0)140205317–www.
louvre.
fr/enPressreleaseSpotlightexhibitionFebruary5–April27,2015Denonwing,1stfloor,room32AmericanEncountersTheSimplePleasuresofStillLifeFinalinstallmentofthe"AmericanEncounters"exhibitionseriesco-organizedbythemuséeduLouvre,theHighMuseumofArt,theCrystalBridgesMuseumofAmericanArtandtheTerraFoundationforAmericanArt,theexhibition"TheSimplePleasuresofStillLife"explorestheriseofstill-lifepaintingin19th-centuryAmerica.
Inthewakeoftheexhibitionsonlandscape,genrepainting,andportraiture,thisexhibitionprovidesanewopportunitytofosterdialogueonAmericanpainting.
Featuring10artworksfromthecollectionsofthefourpartnerinstitutions,thisfinalexhibitionfollowsonfromthepreviousonestoillustratehowAmericanpainterslikeRaphaellePeale,MartinJohnsonHeadeandWilliamMichaelHarnettadaptedEuropeanmodelstotheirtimeandcountry,andthuscontributedtothecreationofaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalvoice.
Despiteacenturies-oldtraditioninEurope,stilllifewasslowtogainfavorintheUnitedStates.
Thegenrebecamepopularwiththemajorpolitical,economic,andsocialchangesthattookplaceoverthecourseofthe19thcentury.
Anewtypeofpatronbegantoemerge,eagertorepresenttheirwealththroughcertainsymbolicobjects.
RaphaellePeale,consideredthefirstAmericanpainterofstilllife,wonrenownforhisaustereandefficientstylewithafocusonproductscultivatedonAmericansoil.
Foralongtime,AmericanstilllifedrewinspirationfromEuropeancodesofstyle.
Aspeople'srelationshiptoluxuryevolved,thecompositionswereenrichedandthesubjectsdiversified.
AftertheCivilWar,Americanstill-lifepaintingrenewedwithmoreredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalsubjectsandsymbolismwasusedtoassertcertainspecificmoralvaluesortocriticizethematerialismprevalentinAmericansocietyatthetime,asinSmallChangebyJohnHaberle.
AttheLouvrefromFebruary5,2015,thespotlightexhibition"AmericanEncounters:TheSimplePleasuresofStillLife"willthentraveltotheCrystalBridgesMuseumofAmericanArtinBentonville,Arkansas(May16–September14,2015)followedbytheHighMuseumofArtinAtlanta,Georgia(September26,2015–January31,2016).
Curators:GuillaumeFaroult,Curator,DepartmentofPaintings,muséeduLouvre,andStephanieMayerHeydt,MargaretandTerryStentCuratorofAmericanArt,HighMuseumofArt,Atlanta.
Thisspotlightexhibitionispartofalong-termpartnershipbetweenthemuséeduLouvre,theCrystalBridgesMuseumofAmericanArt,theHighMuseumofArt,Atlanta,andtheTerraFoundationforAmericanArt,andwasmadepossiblethroughtheirgeneroussupport.
ExternalRelationsDepartmentPresscontactAnne-LaureBéatrix,DirectorMarionBenaiteauAdelZiane,HeadoftheCommunicationSubdepartmentmarion.
benaiteau@louvre.
frSophieGrange,HeadofthePressDivision+33(0)140206710/+33(0)688425262JohnHaberle,SmallChange,1887CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt3TheriseofAmericanstilllifeEuropeanacademichierarchiesplacedlittlevalueonstilllife,agenrethatbeganasaratherconfidentialpracticeintheUnitedStates.
TheNewWorldpaintershadapreferenceforportraitorlandscapepaintings,whichgarneredgreaterinterestfrompatrons,asshowninthepreviousexhibitions.
Attheturnofthe19thcentury,Americaneconomicdevelopmentgaverisetoanewcategoryofbuyerswhowerepartialtorepresentationsofobjectsthatreflectedtheirdailylifeandsuccess.
Incirca1813,RaphaellePealepaintedCornandCantaloupe,appropriatingthetraditionalEuropeanformatofstilllifeandadaptingittohisaudiencetosharehisvisionofAmericanbounty.
Cantaloupe,sweetpotato,andcornareusedtoevokethegreatplantations,particularlytheonebelongingtothepainting'sfirstowner,Dr.
BenjaminLee,inMaryland.
Mid-centurynaturalismFromitstentativebeginnings,stilllifewentontoflourishtowardsthemiddleofthecentury.
Thesubjectmatterwasmoreluxurious:fruitsandvegetableswerejoinedbyflowersandgamemeats,reflectingthechangesintastesarisingfromgreaterwealthandindustrialproduction.
WiththeemergenceofwealthycollectorsinterestedintheDutchGoldenAgestilllifes,artistslikeMartinJohnsonHeade(1819–1904)madeaspecialtyofparticularlyelaboratepaintingswithsubtlesymbolism.
StillLifewithAppleBlossomsinaNautilusShell,paintedin1870,isacleverpasticheofNordicpaintingorAbrahamMignon'svasesofflowers,oneexampleofwhichispresentedintheexhibition.
ThevirtuosoexecutionofdraperyandthedelicaterenderingoftheflowersportrayacontextofseductionthatundoubtedlymarkedthebeginningofanewrelationshiptoluxuryandsociabilityinAmericansociety.
Trompe-l'ilandsymbolTheCivilWarledtoanabruptchange.
StilllifepainterslikeWilliamHarnett(1848–1892)renewedtheirfocusoncharacteristicallyAmericanobjects,specializingintrompe-l'ilwithawillinglysymbolicandsometimessubversiveresonance.
AdistinctivefeatureofAmericanstilllifeinthesecondhalfofthe19thcentury,theuseoftrompe-l'ilechoedtheemergenceofpopulartasteforwhatwerereferredtoas"bric-a-brac"paintings,eclecticcollections,andexoticobjects.
Partofthelongtraditionofvisualillusionism,trompe-l'ilwasalsousedtochallengethematerialistvaluesofsocietyandpoliticalcorruption.
Insuchaway,SmallChangebyJohnHaberlehighlightstherelationshipwithmoneyinAmericaattheheightofitseconomicdevelopment:demystified,acoinisusedtoholdalittleself-portraitthatseemsplacedtherelikeachallengetotheauthorities.
Thevieweristhusmadepartytotheillusion,butalsoguidedbytheartisttodecipherthecode.
IntheAuditoriumoftheLouvrePresentationoftheexhibitionWednesday,February4,2015at12:30p.
m.
byStephanieMayerHeydt,Curator,HighMuseumofArt,Atlanta.
MartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,1870,TerraFoundationforAmer-icanArtTerraFoundationforAmericanArt.
RaphaellePeale,CornandCantaloupe,ca.
1813CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArtWilliamMichaelHarnett,StillLifewithBustofDante,1883,HighMuseumofArt,64.
27HighMuseumofArtExhibitioncatalogueAmericanEncounters:TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
68p.
AlsoavailableinFrench.
4In2003,theTerraFoundationsupportedamajorconferenceonAmericanartattheLouvre,entitled"TheIndependenceofAmericanArt.
"TheLouvreandtheTerraFoundationcollaboratedagainin2006ontwoimportantprojects:thefirstAmericanartexhibitionattheLouvre,inwhichSamuelF.
B.
Morse'smonumentalGalleryoftheLouvre,1831-33,fromtheFoundation'scollection,hungintheLouvre'sSalonCarré,thesameroomfeaturedinthepainting;andtheLafayettedatabase,createdwiththeHenryLuceFoundation,whichisacomprehensiveinventoryofworksofAmericanartinFrenchcollections(http://musee.
louvre.
fr/bases/lafayette/lng=1).
From2006to2009,theLouvreandtheHighparticipatedinacollection-sharinginitiativecalled"LouvreAtlanta"thatincludedaseriesofthematicexhibitionsandthedevelopmentofjointpublicationsandothercollaborativescholarship.
TheTerraFoundationalsolentitsGalleryoftheLouvreaspartoftheLouvre-Highcollaboration;thepaintingwasonviewattheHighMuseumaspartoftheKingsasCollectorsexhibitionin2006.
Since2012,thefourinstitutionshavebeenpresentingeachyearanexhibitionwithinthecontextoftheAmericanEncounterspartnership.
Theprojectaimstoimprovethevisitor'sknowledgeofAmericanartoftheUnitedStatesfromtheendofthe18thcenturytothesecondhalfof19thcentury.
ThepartnersCrystalBridgesMuseumofAmericanArtCrystalBridgesMuseumofAmericanArtexplorestheunfoldingstoryofAmericathroughthecollectionofworksthatilluminateAmericanheritageandartisticpossibilities.
Foundedin2005byAliceWaltonandtheWaltonFamilyFoundation,theMuseumopenedonNovember11,2011.
TheMuseumtakesitsnamefromanearbynaturalspringandthebridgeconstructionincorporatedinthebuildingdesignbyarchitectMosheSafdie.
Aseriesofpavilionsnestledaroundtwospring-fedpondshousecollectionandexhibitiongalleries,meetingandclassroomspaces,andalarge,glass-enclosedgatheringhall.
TheMuseum'sgoalofintersectingartandnatureisrealizednotonlyinthephysicalbuildings,butthroughsculptureandwalkingtrails,whichlinktheMuseum's120-acreparkandgardenstodowntownBentonville,Ark.
TheMuseum'spermanentcollectionspansfivecenturiesofAmericanpaintings,sculpture,andworksonpaperrangingfromtheColonialeratothecurrentday.
www.
crystalbridges.
org.
HighMuseumofArtTheHighistheleadingartmuseumintheSoutheasternU.
S.
Withmorethan14,000worksofartinitspermanentcollection,theHighMuseumofArthasanextensiveanthologyof19th-and20th-centuryAmericananddecorativeart;significantholdingsofEuropeanpaintings;agrowingcollectionofAfricanAmericanart;andburgeoningcollectionsofmodernandcontemporaryart,photography,folkartandAfricanart.
TheHighisalsodedicatedtosupportingandcollectingworksbySouthernartists.
www.
high.
orgTerraFoundationforAmericanArtEstablishedin1978,theTerraFoundationforAmericanArtisdedicatedtofosteringtheexploration,understanding,andenjoymentofthevisualartsoftheUnitedStates.
WithanexceptionalcollectionofAmericanartfromthecolonialerato1945,anexpansivegrantprogram,andspecializedstaffatitsChicagoandParisoffices,itisoneoftheleadingfoundationsfocusedonAmericanart,anddevotesapproximately$12millionannuallyinsupportofAmericanartexhibitions,projects,andresearchworldwide.
www.
terraamericanart.
orgHistoryofcollaborationsamongthepartners5Director'sforewordLikethethreeprecedingexhibitionsintheAmericanEncountersseries,TheSimplePleasuresofStillLifeinvestigatestheblossomingofaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationalvoiceinAmericanart.
Overthecourseofthismultiyearpartnership,ourcombinedeffortshaveyieldedfourexhibitionsinvestigatingthedevelopmentofkeygenresintheartoftheUnitedStates:landscape,genre,portraiture,andstilllife.
TheseriesistheproductofthoughtfulcollaborationbetweenAmericanandFrenchcurators,whobroughttogethermajorworksfromeachofourfourdiverseinstitutionalcollections,inAtlanta,Bentonville,Chicago,andParis.
Notsurprisingly,thishasyieldednewopportunitiesforencounterswithhistoricalAmericanart.
Thisfinalexhibitionintheseriesfocusesononeofthemostoverlooked,yetaccessibleofgenres.
Stilllifecelebratesthecommonplace.
Butinthesesimpleobjectsweinvestmeaning—meaningthatcanbeculturallyspecificbutalsouniversal.
FromtheseventeenthcenturyonwardinEurope,asharedvisuallanguagedevelopedaroundthepracticeofstilllife.
Inearlynineteenth-centuryAmerica,artistsadaptedtheestablishedstill-lifeformatstosuitnewcircumstances.
ExamplesinthisexhibitionextendfromtheausterearrangementsofAmerica'searliestpractitionersofthestill-lifegenretothepopulartrompel'oeilconceitsoftheGildedAge.
TheseworksarebolsteredbytwoexcellentexamplesoftheprecedentsAmericansfoundintheDutchandFrenchtraditions.
StephanieMayerHeydt'sessayinthiscataloguedescribestheconvergenceofAmericanwithhercollaboratingcuratorsEuropeanstilllifeaswellasitspointsofdeparture.
Heydt,alongwithPeterJohnBrownlee,GuillaumeFaroult,ManuelaWell-Off-Man,andothercolleaguesconsidersastunningarrayofpaintingswithintheirhistoricalandculturalcontexts.
AlthoughourAmericanEncountersseriesconcludeshere,thecross-culturalexchangeithasinspiredsuggeststhattheseencountersareonlyabeginning.
RodBigelow,executivedirectorCrystalBridgesMuseumofAmericanArt,BentonvilleElizabethGlassmann,presidentandchiefexecutiveofficerTerraFoundationforAmericanArt,ChicagoandParisJean-LucMartinez,president-directorMuséeduLouvre,ParisMichaelE.
Shapiro,NancyandHolcombeT.
Green,Jr.
,directorHighMuseumofArt,AtlantaTextfromAmericanEncounters,TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
6Theexhibition'sartworksMartinJohnsonHeade(American,1819–1904)StillLifewithAppleBlossomsinaNautilusShell1870Oiloncanvas,H.
53,3;l.
43,2cm.
TerraFoundationforAmericanArtWilliamMichaelHarnett(American,1848–1892)StillLifewithBustofDante1883Oilonpanel,H.
26;l.
35,1cmHighMuseumofArt,AtlantaDeScottEvans(American1847–1898)DaisiesCa.
1885Oiloncanvas,H.
50,2x45,4x4,4cmCrystalBridgesMuseumofAmericanArt,BentonvilleJohnHaberle(American,1845–1933)SmallChange1887Oiloncanvas,H.
23,5;l.
18,4cmCrystalBridgesMuseumofAmericanArt,BentonvilleGeorgeCope(American,1854–1925)APairofSpectacles1897Oilonacamedyboard,H.
50,2;l.
45,1cmHighMuseumofArt,AtlantaAbrahamMignon(Francfort,1640–Utrecht,1679)Flowersinacrystalvasestandingonastonepedestal,withadragonfly[Fleursdansunecarafedecristalplacéesurunpiédestalenpierre,avecunelibellule]n.
d.
Oiloncanvas,H.
88;l.
68cm.
Signedonleftsidedown:A.
MignonFeMuséeduLouvre,ParisJean-SiméonChardin(Paris,1699–Paris,1779)Pipesanddrinkingpitcher,alsoknownasThetobaccobox[Pipesetvaseàboire,ditaussiLaTabagie]Ca.
1737Oiloncanvas,H.
32;l.
42cmMuséeduLouvre,ParisRaphaellePeale(American,1774–1825)CornandCantaloupeCa.
1813Oilonapanel,H.
36,8;l.
49,5cm.
CrystalBridgesMuseumofAmericanArt,BentonvilleJosephBiaysOrd(American,1805–1865)StillLifewithShellsCa.
1840Oiloncanvas,H.
46;l.
61cmHighMuseumofArt,AtlantaWilliamSidneyMount(American,1807–1868)FruitPiece:ApplesonTinCups1864Oilonacademyboard,H.
16,5;l.
23cmTerraFoundationforAmericanArt7FocusonafewworksRaphaellePeale(1774–1825)CornandCantaloupeCa.
1813,oilonapannelRaphaellePealewastheeldestsurvivingsonofAmericanpainterCharlesWillsonPealeandthefirstofthePealefamilydynastytobenamedafteragreatartist.
Hebeganhiscareerinthepracticalfieldofportraitpainting,but[…]heturnedtostilllifeashisprimarypursuit.
AlongwithhisuncleJamesPeale,Raphaellewouldchallengetheinferiorstatusofstill-lifepaintinginthetraditionalartistichierarchy,elevatingthegenre'sstatusinAmericaandestablishingthecityofPhiladelphiaasacenterforitspractice.
InformedbyPeale'sskillinprecisebotanicalrepresentationandbyhishorticulturalknowledge,CornandCantaloupecelebratesasummer'sharvest.
Atthecenterofthecomposition,thediagonallyplacedearofcorndirectsthegazethroughtheimageandunitesitsvariouselements.
[…]Wheretheymeet,thevisual"digestion"ofthecompositioncontinuesonthesucculentsurfaceofafreshlyslicedmelon—specificallythevarietyknownasAnneArundel,grownregionallyinAnnapolis,Maryland,theartist'sbirthplace.
Pealecloselydetailstheedibleflesh,invitingtheviewertopartake.
Contrastingwiththesensuousfruitinsize,texture,andcolor,asweetpotatoandacucumbercompletealineupofcultivatededibles.
[…]Yetinthispaintingthedeliberateinclusionofbothsweetpotatoandcornmayrevealthework'sprovenance.
Itsoriginalowner,Dr.
BenjaminLee,wasapracticingphysicianandtheproprietorofOakHillplantationinPrinceGeorge'sCounty,Maryland.
PealemayhaveofferedCornandCantaloupetoDr.
LeeascompensationformedicaltreatmentduringavisittoMaryland,fortheimagepointedlyincludesexamplesofthetwostaplecrops,cornandsweetpotatoes,raisedonthedoctor'splantation.
[…]ConsideredtheredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nation'sfirstprofessionalstill-lifepainter,PealeinitiatedanAmericantraditionforthegenrelatercontinuedbysuchmastersasWilliamMichaelHarnettandJohnFrederickPeto.
AaronW.
Jones,Interpretationmanager,CrystalBridgesMuseumofAmericanArt,BentonvilleWilliamSidneyMount(1807–1868)FruitPiece:ApplesonTinCups1864,oilonacademyboardWilliamSidneyMount'smodestlyscaledFruitPiece:ApplesonTinCupspresentsadeceptivelysimplearrangementoftwotypicalapplessetatoprichlypatinatedtincup"pedestals.
"[…]Bythemid-nineteenthcentury,itwasthemostwidelycultivatedfruitintheUnitedStatesandastapleoftheAmericandiet.
Oftheapple'smanifoldassociations,themostpotentforMountandhisaudienceduringtheCivilWarwouldhavebeenitscapacitytoinvokepatrioticsentimentinamomentofsectionalconflict.
Theapplewasbothasymbolandasourceofsustenance,asexemplifiedbythecustomamongNorthernchildrenofRaphaellePeale,CornandCantaloupe,ca.
1813,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt,PhotographybyDwightPrimianoWilliamSidneyMount,FruitPiece:ApplesonTinCups,1864,oilonacademyboard,TerraFoundationforAmericanArt,DanielJ.
TerraCollection,1999.
100TerraFoundationforAmericanArt8givingapplestoUnionsoldiers[…].
MountdemonstratedhissupportfortheUnioncausebydonatingFruitPiece:ApplesonTinCups,alongwitha"sketchinoilofcherryblossoms,"forexhibitionandsaleattheMetropolitanFairinNewYorktobenefittheUnitedStatesSanitaryCommission,acivilianrelieforganizationestablishedin1861toaidUnionsoldiers.
Mountwasanestablishedpainterofgenresceneswhen,in1862,hewroteinhisjournalthatstill-lifepaintingwas"averyingeniouswaytotellastory.
"Still-lifeimagesconveymeaningthroughsymbolismandthesuggestivejuxtapositionofpicturedobjects[…].
DuringtheCivilWar,thestorytellingcapacityofthestilllifeprovidedMountwithavehicletocommunicateamorepersonaltakeontheconflictwithoutalienatingapublicthathadgrownwearyofpartisanimageryandgruesomebattlefieldaccounts.
InFruitPiece:ApplesonTinCups,thesmooth,glowingredskinoftheforemostapplebearstheindentionofafingernail,asubtlereferencetoaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationscarredbythetragedyofwar.
ThetarnishedsurfacesofthecupsthatsupporttheapplesreferencetheirutilitarianfunctionasstandardUnionarmyissuefromwhichsoldierswouldeatanddrink.
Theevidentwearandtearinflictedonthesevesselsstandsinfortheeffectsofwarontheindividualsoldierswhoutilizedthecupsbutwhomayhavenotreturnedhome.
Fullofsymbolicmeaningsrangingfromsustenancetoabsence,FruitPiece:ApplesonTinCupsquietlyunderscoresMount'sbeliefintheabilityofstill-lifepaintingtoevokemeaninginapoignantyetpalatablemannerforaredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nationconsumedbycivilwar.
EleanoreNeumann,Formercollectionassociate,TerraFoundationforAmericanArt,ChicagoMartinJohnsonHeade(1819–1904)StillLifewithAppleBlossomsinaNautilusShell1870,oiloncanvasAperipateticpainterofportrait,landscape,andmarinesubjects,MartinJohnsonHeadefirstturnedhisattentiontofloralstill-lifepaintingintheearly1860s.
Hisinitialessaysinthegenrewererelativelysimpleaffairs,featuringsmallclustersofflowersrestingontabletopsorarrangedinvasesandothervessels.
Heade'sinterestinflowersintensifiedasaresultoftwotripstoSouthAmerica[…].
There,hehonedhisskillas"anaccurateandgracefulillustratorofnaturalhistory,"paintingthedelicatepicturesofhummingbirds,orchids,andpassionflowersthatcomprisehisfamedseriesGemsofBrazil(1864,CrystalBridgesMuseumofAmericanArt).
BythetimeHeadepaintedStillLifewithAppleBlossomsinaNautilusShellin1870,histabletopcompositionshadevolvedincomplexityandsophisticationtoincludeanarrayofflowertypesandagrowingconstellationofobjects,naturalandotherwise.
[…]Althoughperhapsbestknownforhisimagesoftropicalflora,Headefavoredrosesbutwasalsopartialtoappleblossoms,paintingsometwenty-fiveinterpretationsofthesubjectoveratwenty-yearperiod.
Renderedwiththespecificityofbotanicalillustration,Heade'sappleblossomsinvokethelanguageofflowerswiththeirallusionstothe"promiseofanabundanceofdeliciousfruit"andthetemptationofEve.
[…]StillLifewithAppleBlossomsinaNautilusShellbringstogetherthebeautyofnatureandthematerialgrandeurofworldlygoods.
Althoughtheflowersaresymbolicallysuggestiveandcentrallyplacedagainstabackdropformedbythelattice-likewallcovering,theyarebutonesignifieramongmany.
Alsoscatteredaboutthetableareanautilusshellvessel—areferencetoVenus,thedaughterofNeptune,ajewelryboxpartiallycoveredbyaheavyvelvetcurtain,astringofpearlsculminatinginacrossspillingfromanornatefooteddish,aslightlyopenedfanwithpendanttasselperchedprecariouslynearthetable'sroundededge,andascallopedglovetossedcasuallytotheside.
Inanageofincreasinglymechanizedproductionandconspicuousconsumption,theseluxuryobjectseffectivelyconveyagreatershareofthepainting'scodedmeaningsandestablishitsillusionisticspaceasdistinctlyfeminine.
PeterJohnBrownlee,Curator,TerraFoundationforAmericanArt,ChicagoMartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,1870,DanielJ.
Terra,ArtAcquisitionEndowmentFund,1999.
7TerraFoundationforAmericanArt.
9JohnHaberle(1845–1933)SmallChange[Petitemonnaie]1887,oiloncanvasJohnHaberlewasamasteroftrompel'oeilimagesofUnitedStatescurrency.
HepaintedmoneysoconvincinglythattheUnitedStatesSecretServicecompelledhimtostop,andanewspaperreporterfalselyaccusedhimofintentionalfraud.
Thisattentioninspiredhimtospecializeinmoneypaintings,beginningaround1887.
[…]InSmallChange,Haberlepaintedcurrencyagainstadarkwoodenboard.
Heincludedaone-centcoppercoinbearingasymbolofjustice,asilverthree-centcoin,aten-centpaperbillwithaportraitofSecretaryoftheTreasuryWilliamM.
Meredith,and,mendedwithapostagestamp,atatteredtwenty-five-centpaperbillbearingaportraitofGeorgeWashington.
[…]Haberle'stitleSmallChangeisapunontheword"change"(thatis,exchange),meaningcoins.
ComparedtothecontroversialsurplusofU.
S.
governmentmoneythenstoredinvaults,thesmallamountofmoneydepictedherewasindeed"smallchange.
"ThetermalsoreferstochangesthatoccurredoverthecourseofAmericanhistory.
Here,Haberledepictscurrencyissuedduringnearlyacentury—from1785andthefoundingoftherepublictotheredTag"style="COLOR:#000000;BACKGROUND-COLOR:#ffff00">nation'scentennialin1876.
[…]Timeandusehavechangedtheappearanceandconditionofthemoney:Haberle'sfrayedandcrinkledpapernotescontinuethetraditionofthevanitasstilllifeofDutchandFlemishBaroquemasters,remindingviewersofthevanityofmaterialthingsandthebrevityoflife.
Haberlecarefullymodeledhiscurrencyinpainttoconvincinglyreplicatethethree-dimensionaltornandcurlededgesofthenotes.
Atrainedengraver,hecarvedthefinelinesofthebills'designsintotheblackpaint,preciselymimickingthedelicateengravedsurfacesoftheplatesfromwhichthebillshadbeenprinted.
Haberleoftenincludedhumorouspersonalreferencesinhiscompositions,ashereinthe"carved"signaturewithstickfigure—acaricatureofhimself.
Healso"signed"thisworkthroughhistintypeportrait.
Bothpersonalized"signatures"expresstheartist'sprideinhisworkandaddtoitsComplexity.
ManuelaWell-Off-Man,Curator,CrystalBridgesMuseumofAmericanArt,BentonvilleJohnHaberle,SmallChange,1887CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyAmonCarterMuseumofAmericanArtTextsfromAmericanEncounters,TheSimplePleasuresofStillLife,editedbyStephanieMayerHeydt,MarquandBooks.
10ExhibitionvisualsAmericanEncounters:TheSimplePleasuresofStillLifeFromFebruary,5thtoApril,27th2015-Denonwing,1stfloor,room32Visualsarefreeofrightsduringandaftertheexhibition.
Theymayonlybeusedfortheexhibition'spromotion.
Pleasementionthepicture'srightsandsendusthearticleoncepublished:MuséeduLouvre,Directiondesrelationsextérieures,Sous-directionCommunication,75058Pariscedex01ormarion.
benaiteau@louvre.
fr.
2.
RaphaellePeale,CornandCantaloupe,ca.
1813,oilonpanel,Bentonville,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyDwightPrimiano1.
JohnHaberle,SmallChange,1887,oiloncanvas,CrystalBridgesMuseumofAmericanArt,BentonvilleCrystalBridgesMuseumofAmericanArt.
PhotographybyAmonCarterMuseumofAmericanArt3.
WilliamSidneyMount,FruitPiece:ApplesonTinCups,1864,oilonacamedyboard,TerraFoundationforAmericanArt,DanielJ.
TerraCollection,1999.
100TerraFoundationforAmericanArt.
114.
JosephBiaysOrd,StillLifewithShells,ca.
1840,oiloncanvas,HighMuseumofArt,2013.
8HighMuseumofArt6.
WilliamMichaelHarnett,StillLifewithBustofDante,1883,oilonwoodpannel,HighMuseumofArt,64.
27HighMuseumofArt.
5.
MartinJohnsonHeade,StillLifewithAppleBlossomsinaNautilusShell,oiloncanvas,TerraFoundationforAmericanArt,DanielJ.
Terra,ArtAcquisitionEndowmentFund,1999.
7TerraFoundationforAmericanArt.
129.
AbrahamMignon,FlowersinaCrystalVaseonaStonePedestal,withaDragonfly[Fleursdansunecarafedecristalplacéesurunpiédestalenpierre,avecunelibellule],oiloncanvas,n.
d.
,Paris,muséeduLouvreRMN-GrandPalais(MuséeduLouvre)/FranckRaux8.
GeorgeCope,APairofSpectacles,1897,oilonacademyboard,HighMuseumofArt,2005.
216HighMuseumofArt.
PhotoMikeJensen7.
DeScottEvans,Daisies,ca.
1885,oiloncanvas,Bentonville,CrystalBridgesMuseumofAmericanArtCrystalBridgesMuseumofAmericanArt.
PhotoDwightPrimiano10.
Jean-SiméonChardin,PipesandDrinkingPitcher,alsoknownasTheTobaccoBox[Pipesetvaseàboire,ditaussiLaTabagie],ca.
1737,oiloncanvas,Paris,muséeduLouvreMuséeduLouvre,dist.
RMN/AngèleDequier
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